Glossary of terms (Wedgwood handbook)
A right|250px *'Anthemion'. An ornamental decoration formed of petals closed or detached, and curling upon a spiral stem, taken from the antique, and commonly known as the " honeysuckle" ornament, consisting of a con- ventional representation of that flower. It is sometimes used as a single ornament, but more commonly as a bordering. The wonderfully varied arrangements of this subject, and the elegant methods of connection, rendered it a favourite one for the encaustic painted vases, as also for table ware. When applied hi relief, it forms a most beautiful border, and the one most frequently used, particularly on vases in jasper and basaltes. *'Antique'. A term derived from the Latin antiquus, ancient. By antique is understood pre-eminently those peculiarities of genius, invention, and art, which are preserved in the remains of the cultivated nations of antiquity. The term is used only for the creations which are left to us of the Greeks and Bomans. The word " antique" is also ap- plied to one of the choicest enamelled patterns. It is an adaptation of the anthemion or "honeysuckle" border. It appears in red, brown, purple, and other colours. Bed, as also purple antique, belong to the finest period of enamel painting. For example, see '^ Border Patterns," " Life of Wedgwood," vol. ii. pp. 144, 145, No. 14. B *'Bamboo'. High-coloured cane ware. Also applied to hyacinth and other bulbous-root pots, and to bough pots, which were modelled in re- semblance of the bamboo plant. *'Basaltes'. Black terra-cotta ware. The old Egyptian ware improved. This was Wedgwood's favourite body for busts, figures, and vases. *'Basket'. The centre-piece, as also side-pieces, where there were two or more, of dinner and dessert services. The forms are almost always choice. *'Basket-work'. Open-work pieces after the form of baskets. They were also called in old phrase " twiggen baskets." Wedgwood always rounded his twigs and beautifully interlaced them. *'Bas-relief'. In ceramic art, the result of one body applied to an- other for ornamental purposes. The upper body slightly projects from the lower, which is called the plane, field, or surface. In reference to Wedgwood's fine-art work the term " bas-relief" more especially applies to the laying of a white body on a coloured one ; as in the case of a bas- relief of white jasper placed on a field coloured blue, green, or black. Bas-reliefs may have varying degrees of projection. Ordinarily in the case of Wedgwood's large pieces the projection is from •! to ^ in. ; in cameos and small pieces from |- in. to ^ in. and less. The term " bas- relief " is also applied to the whole of an ornamental piece, whether for insertion in a chimney-piece or for framing as a picture. In shape bas-reliefs may be oral, round, square, or longitudinal, or perpendicular oblongs. The last are rare. right|250px *'Bat'. The flat slab of clay as prepared for the moulder or presser. *'Beading'. A beautiful kind of ornament applied by Wedgwood as an edging to many of his finest pieces. It is used for the jasper as also basaltes vases. Copied from the antique. *'Bee hives'. Covered basins or cups for holding sugar, honey, pre- serve, or cream. *'Bevel', Bevelling. The sloping or rounding of angles. Many of Wedgwood's seals and cameos were bevelled and the bevels polished. So also were a portion of the large bas-reliefs intended for insertion in fire-places. *'Biscuit'. The dead surface without glaze. A term also applied to ware which has been fired but once. *'Black marble'. A crystalline terra-cotta body. The colour is black shaded^ *'Black painted'. Single stems and flowers painted on black glazed ware. ' The earlier patterns are comparatively small ; generally con- sisting of a leaf, bud, or coral-like spray. The later patterns are larger and more highly coloured. * *'Black printed'. Cream-ware printed over or under the glaze with patterns in black. *'Blistered', Unevenness of the plane or surface ; a defect often seen in modem bas-reliefs. *'Blocks'. Two portions of the ornaments of fire-places, placed above each column, the frieze being on either side, and the chief piece, the tablet, in the centre. The more ordinary chimney-pieces had only a tablet and blocks. The bas-reliefs inserted in the columns were called panels, and occasionally the base of the columns had blocks also. See « Life of Wedgwood," vol. iL p. 373. *'Body'. The substance of a piece of whatever kind. The bodies in-> elude cream-ware, pearl ware, crystalline terra-ootta, basaltes, rosso- antico, cane-oolour, and jasper. *'Body colour'. As distinguished from surface colour. The crystal- line terra-cotta ware and the jasper ware furnish good illustrations. *'Border'. That which limits, edges, car ornaments a piece. A border may be enamelled, printed, or raised above the surface in bas-relief. Under all these forms Wedgwood's borderings are most varied and beautiful. He copied largely from the antique. His chief borders are the anthemion, helix, ivy, Greek fret, mseander, chain-guilloche, feather- edge, bead, and many others. See under respective headings. *'Bosted'. An old technical word. It signifies shaped out ; as when the seTeral pieces of a bust or figure are released from the mould and then put together. right|250px *'Bouquetier'. A flower^pot, made in many designs and forms, often with a pierced cover for the insertion of the stems of flowers. *'Box', Boxes. Small hollow receptacles of various sizes and fonns for snnfF, scissors, patches, powder, and countless other things.' Manj toilet boxes were in the shape of fruits and shells. A large number were made variously of ivory, pinchbeck, and satin and other woods, the Wedgwood ornaments being cameos inserted therein. *'Bronzing'. The application of bronze powder to basaltes ware; it was then burnt in. *'Bust'. A representation of the human head, neck, and upper portion of the shoulders. Wedgwood's busts are almost all in the iMualtes body. C *'Cameo'. As distinguished from intaglio, a small piece of which the ornamental portion is raised above the surface. Thousands of people think *^ cameo" means the material of an object, instead of the object it- self. In relation to Wedgwood's fine art work the term " cameo " refers especially to small and beautiful objects in jasper, of two or nxae colours ; the upper, or raised portion, being almost always white and in relief. The forms are various ; round, oval, square, horizontal, octagonal, &c. Sizes vary firom two inches to a quarter of an inch. Used chiefly for mounting as jewellery, for insertion in all kinds of bijouterie and ftimiture, and for preservation in cabinets. *'Campanula'. The bell-flower; an ornamental decoration derived from the Cinquecento. Much used under many variations by Wedgwood in his latest and best period. It serves more frequently for the graoeliil separation of ornamental parts than as a border. *'Candelabrum', Candelabra. a candlestick or candlesticks with branches. Wedgwood made candelabra in all his various bodies, but more especially in basaltes. The mounts, made chiefly at Soho, were g^ded, lacquered, or bronzed. Many of these were of large size and vei^r magnificent, having for supports dolphins, tritons, chimsne, griffins, sphinxes, and human figures. In the jasper body his light-holders took generally the form of chandeliers, the short stems being in blue or other coloured jasper with white reliefs, the branches ormolu, and the drops of fine glass. *'Candlesticks'. These were made in infinite variety for the drawing- room, the dining-room, the study, the toilet, the nursery, &c. In basaltes they were often large and superb ; in jasper, decorated vrith beautifhl reliefs, the columns being supported by white figures. Candlesticks were also made in cream-ware, plain, enamelled, or printed. In the form of candlesticks Wedgwood imitated Chelsea ware. A pair, with figures, in the Barlow Collection, sold for £4. Such specimens are very rare. right|250px *'Cane-colour'. Ware the ooloar of cane. There are several shades of colour, the darkest being called bamboo. Cane-colour was applied both to ornamental and to useful purposes. *'Canopio', Canopus, Canopi. A peculiar class of Egyptian vases which Wedgwood copied in his chief bodies. They are somewhat in the form of a mummy, surmounted by a head which, speaking in relation to his Tases, is generally human. They are far from rare ; but except as proofs of his skill, have little, in an artistic sense, to recommend them. *'Cantharos'. A kind of cup with two handles. Flaxman modelled a bas-relief yase somewhat after this form for Wedgwood in April, 1775. A copy in basaltes was in the De La Bue Collection. Figured in Life of Wedgwood," toI. ii. p. 386. *'Cast. Any work of art produced from a mould. Almost all Wedg- wood's finest works were formed in moulds. *Chain-pattern. Small rings interlinked. One of Wedgwood's earliest enamelled patterns. It appears in green and gold. Turner used it largely as a border in the jasper body. *Chessmen. Seventeen figures for playing the game of chess. They are always in jasper, and were modelled from drawings by Flaxman. *Chimera. A misshapen monster of Grecian myth. Its forms are various. Wedgwood used chimseras as light supports. One example with a hawk-like head, from the BCarryat Collection, is figured in '* Life of Wedgwood,** voL ii p. 819. *Chrysanthemum. a showy enamelled pattern on useful ware. Much in vogue during the early part of the present century. The chrysanthemum pattern was also enamelled on black glazed vases, tea-services, and dessert-services. See ''Memorials of Wedgwood," plate xvi *Cleaning. The art of restoring soiled and tarnished specimens of all kinds. Soap and water, with a little soda and a soft brush, are the best and simplest materials. When black ware is washed great care must be taken to remove every grain and film of the soap, or when dry the ornamental portions will have a mouldy appearance. Black ware, after thorough cleansing, may be rubbed with fine olive oil with good result. When this has been removed by careful wiping the piece may be dabbed over with naphtha. Some restorers resort to rubbing with wax. Bread as a cleanser for white biscuit may be tried. *Cippus, [[Cippi]]. A sepulchral monument in the form of a short column. Wedgwood used it at a very early date for flower and bulb pots. A most choice example in cream-ware, marbled with orange and black, is given in " Memorials of Wedgwood," plate xiii. right|250px *Cistern. A large dairy utensil for holding milk. Cisterns had plugs, as also taps, and were made in cream-ware. *Colour. The hue or tint of a piece. The chief colours are three shades of black in basaltes, the mixed or marbled colours in crystalline terra-cotta, the red in rosso antico, the various tints of blue, sea-green, and mauve in jasper, cane and bamboo colour, and cream colour. *Cracking. The fracture, mainly due to firing, of the component parts of an ornamental piece— *such as a bas-relief or large medallion. . It far more frequently affects the raised portion than the field or plane. Wedgwood in one of his letters to Bentley makes the complaint that ' all large pieces in figures and laid upon a plain ground are very liable to crack." By far the greatest portion of his finest pieces are wonder- fully free from fracture of any kind ; while there are others, equally fine, split sometimes into rayed, but more often into fine and perpendicular lines. Attaching parts— such as ground work connecting figures, slender limbs, and sections of floating drapery, are those most usually aflected by cracking. Border edgings in relief of vases and other pieces are sometimes found cracked, especially in the cases of spiral lines and delicate leafage. *Crazing. a defect which is distinctly different from cracking. It can only affect ware covered by a glaze. It consists of minutely rayed cracks spread like delicate network over a piece. The much-prized " crackle ware " of the Chinese is porcelain purposely crazed or cracked. It is a defect due to the non-expansion of the glaze during firing, and is one from which all Wedgwood's fine cream-ware and other useful wares were wonderfully free. Now and then you find such pieces as sauce- boats, plates, and dishes from long and repeated exposure to grease and heat crazed, but not fluently. No wares stand long and rough usage so well as his. A test of inferior wares is crazing ; a defect too common in the present day. *Cruet-frames. Were made in cream- ware to match large dinner services, and were fitted with castors of the same ware, for salt, pepper, and sugar, and with bottles for oil and vinegar. In this complete state they are rare. There is one in the Bohn and another in the Bragg Collections. *Crystalline. A t^rm applied by Wedgwood to a section of his terra-cotta vases. They are known by the various names of porphyry, granite, Egyptian pebble, agate, black marble, &c., because they resemble in hardness, mixture, colour, and polish these and other beautiful stones of the siliceous or crystalline order. His vases with bodies mixed throughout are all crystalline. right|250px *Cups. Small vessels of various forms. Wedgwood's cups for jellies, custards, creams, preserves, and other delicacies of dinner and dessert are often of exquisite form and always of finish. He made eye-cups in his crystalline bodies. *Cylix. From the Greek. A wide flat saucer with a central foot and two handles. Now generally termed patera, though that word is more properly applied to cups without feet. *Cymation. From the Greek. Wave moulding. Imitated as an edging both in bas-relief and in enamel. D *Déjeuners. Small breakfast or tea services, so termed. A dejeuner consists of a tray, one or more cups and saucers, occasionally a teapot, a cream jug, and a slop basin. Wedgwood, who probably derived his idea of dejeuners from specimens in Dresden, Sevres or Chelsea porce- lain, made sets in basaltes, cream*ware, cane- ware, and jasper. Sets in cream-ware were plain, enamelled, or printed. Those in jasper were always beautiful and often costly. Many perfect examples are extant. *Design. The sketch or study for a piece. The first preliminary to the execution of a work. Wedgwood's artists— including Flaxman — first made a sketch, and from this, when approved of, a more perfect design was wrought. Among the Mayer MSS. are Flaxroan's two rough sketches for the design of the bas-relief of the *' Manufacturers* Arms.'* A copy of this bas-relief is now, apparently, unknown. *Diaper. A beautiful kind of decoration applied to plain surfaces, and derived from the Middle Ages. Through his later period Wedg- wood used diaper — or as some might call it, chequer«work — in many variations, for the ornamentation of his ware, more especially for small vases, dejeuners, and tea -sets. His diapers stand generally out in relief; the leafage or quatrefoils being white, and the minute boss or central ornament of the body-colour, or else a contrasting colour. When plain squares intervene, his diapers have much the appearance of dice- work. See for examples " Life of Wedgwood," vol. ii. pp. 505-517. *Dolphin. Wedgwood copied this subject from the antique, as also from the period of the Cinquecento. He used dolphins with excellent effect as supports for candelabra. See '^Memorials of Wedgwood,'* plate xviii. *Drapery. a flowing ornamentation of folds, in relief. Much used by Wedgwood on his finest vases in basaltes. His drapery appears to have been copied from the marble vases of the Renaissance. *Dummies. Pieces in earthenware so made as to represent pies and tartlets. They were much used during the famine period — 1795-1802. The hollows within were for holding such cheap and easily prepared articles of food as rice, sago, furmety, &c. Many specimens are preserved. Another sort of dummy is curious though rare. It consists of an elongated solid cone or wedge with a thin, outstanding base. This is prettily enamelled, in some cases printed, with gay-looking flowers. A clear jelly was apparently run over this ; and the flowers showing through, an ornamental piece for the dinner-table was formed. There is a nice specimen in the Bragg C!ollection. E right|250px *Egg and tongue, or Egg and dart. A beautiful ornamental edging much used in the decoration of antique vases. It has the effect of an elegant fringe, or of a running series of tassels. We find it, in relief, on the finest of Wedgwood's jasper vases, painted on his encaustic vases, and used as a bordering, in varying colours, not only on his enamelled but on his printed table services. As a lip and plinth edging on vases it is most graceful. *Egyptian Black. The old name of the basaltes ware. Wedgwood by hardening and generally improving this body brought it to the condition of the true basaltes. Hence its name. *Egyptian form and style. Exemplified in the canopic vases, in the lotus vases (see '^ Wedgwood and his works," plate xxiL), in many of the red on black and black on red inkstands, and other pieces. *Egyptian pebble. One of the crystalline terra-ootta mixed bodies of which the colours are red, brown, and white. *Enamel painting. Hand painting ; the colouring materials being a combination of the metallic oxides. To these a flux is added which on fusion, by firing, renders the colours permanent and gives them a re-splendent appearance. This style of painting is always in slight relief. *Encaustic. A sort of fresco painting whereby the colours, which are without gloss fuse with the mass in firing and become an integral portion of it. Wedgwood's black vases, painted after the antique, are all encaustic. *Etruscan form. Vases and other pieces shaped more or less after the finest examples found in the cemeteries of old Etruria. Wedgwood applied the term Etruscan so generally to form, that vases in various bodies are so distinguished. *Etruscan painted. The same as encaustic painted. F *Feather edge. A border pattern seen frequently on useful ware. It may be impressed, enamelled, or printed. There are several varieties. Sometimes it is placed between gadroons, sometimes It has a serrated edge, at others the serrated edge dies away on the body ; but the general rule is for the feathering to die away into the body colour. Feather- edge is found in almost every colour. *Festoon. An ornament in relief, yariously suspended from terminals, bosses, heads, ribbon-ties, &c Festoons may be of drapery, animals* skins, fruits, flowers, husks, or cords on which musical instru- ments and other devices are sut^pended. The variety of Wedgwood*s festoon ornaments is great, and their grace undoubted. Many of his enamelled patterns are after the type of the festoon. right|250px *Field. The same as plane or surface. A bas-relief rests necessarily on a field. *Figures. A term applied to representations, of whatever size, of the human body. Wedgwood's figures are chiefly in basaltes. They range in height from two feet to six and a half inches. In his first and early period he made figures as also busts in earthenware variously coloured and painted. *Firing. The process of burning all descriptions of ware in the potter's kiln. *Fluting. Semicircular or square indents running spirally or perpen- dicularly on the body of a vase or other piece. Fluting is done on the engine lathe. In iJl its variations Wedgwood used fluting with mar- vellous effect. It is an essential feature of the finest basaltes vases of the Wedgwood and Bentley period — 1768-1780. *Form. The same as shape. The form of a vase means its outline or external appearance. Wedgwood excelled in form, and following the ancient potters, he made great use of the ellipsis in his outlines. His forms in useful pottery — witness his cream-cups, his mustard-pots, his salt-cellars, his firuit-baskets, and countless other objects — are simply perfect. They often show much originality of conception. Many such pieces were in the first instance shaped out or formed by himsel£ He made great use of the oviform or egg-shape, as well as the ellipsis. *Foxes' heads. Drinking cups made in the shape of a fox's head, and copied from the rhyton, a Grecian form; copies were generally rimmed with silver. Examples are not uncommon. *Frames. Frames in earthenware were made at an early date, but were not found to answer so well as those formed of metal Frames are generally in basaltes ; but some large medallions are still extant which have frames in red, light puce, and brown. The ornamental part gene- rally consists of reed and strap-work. *Frieze. The central portion of the entablature of a chimney-piece. Hence, many of Wedgwood's finest bas-reliefs were intended to serve as firiezes. Bunning friezes were also occasionally made for the adornment of internal walls, at the highest point where they meet the ceiling. The dining-room and drawing-room at Etruria Hall, as also the same class of rooms in Mr. Bentley's house at Turnham Green, were thus decorated. Of this latter class of friezes, there is a section in the Mayer Mnseiun, Liverpool, figured in '^ Wedgwood and his Works/* plate xL ; bat it needs the cornice or upper moulding, as also the lower or architrave. G right|250px *Gem. a term used in relation to all cameos intended for setting' as jeweUery. Wedgwood also uses the term " gem frame,** which probably means an ornamented frame. *Gilding. The process of ornamenting pottery with gold. Wedg- wood used gilding very sparingly, except in relation to his crystalline terra-ootta vases and some few forms in jasper. Much of his useful ware in dinner, dessert, tea, and coifee services was finely gilt. '^ A pierced and gilt service '* in cream-ware was perfection. His gilding was rich, well put on, and stands admirably the tests of time and wear. *Glaciers. Ornamental vessels for holding ice. They formed s part of all superb dinner and dessert services, especially if prepared for foreign countries. Wine bottles, possibly glasses, were placed within them. Fine examples are extant in jasper. The glaciers of the famed Russian service were painted in enamel with the choicest landscapes. *Glaze. The transparent coating which covers the surface of pottery. Wedgwood's cream-ware was rendered like ivory by the perfection of its glaze ; but his chief ornamental bodies were terra-cottas, and thus with- out glaze. *Gold bronze. One of the lustre bodies. Of this beautiful ware there are several shades, from darker to lighter. Specimens are now rare. Wedgwood's gold bronze was the application to pottery of a receipt given to him by his friend Dr. Fothergill, the Quaker physi- cian, for gilding ordinary picture frames. See '* Wedgwood and his Works,** plate xxiv. *Granite. a crystalline terra-cotta body. Much seen in fine vases. The colours mixed are grey, white, and black. *Granulated. a peculiar surface-finish found only on fine works and in the pale blue jasper body. It consists of very minute dimples, about 1200 to the square inch, very smooth to the touch, but giving a "dead" or "matted" appearance to the ground; and thus affording greater contrast to the adjacent white figures. Specimens of granulated bodies may be seen figured in "Life of Wedgwood," vol. ii. p. 513, and in "Wedgwood and his Works" plate xxiv. *Greek fret. By some called the meander. Also commonly known as the "key" pattern, from its close resemblance to the wards of a key. It consists of a continuous arrangement of straight lines turned up and along and down, but always at right angles, and forming in its more intricate developments a sort of horizontal maze. This, like several ether elegant borders, is derived from the antique vases so much admired and copied by Wedgwood. It is ased chiefly in relief, and on the plinths of vases. In its simplest form, it is almost always found on works after the Egyptian style, in red relief upon black, or vice versd. right|250px *Griffin. a fabulous animal used as an ornamental figure in works of art. Wedgwood uses the griffin as a support to pedestals, one at each squared or rounded comer. Splendid specimens of this class of pedestals are in the Collections of Sir D. C. Maijoribanks, Bart., and Dr. Sibson, F.R.S. They are low, or, as it may be termed, cushion- form, and serve as supports to superb examples of the Homeric vases. *Guilloche. This is distinct from the Chain pattern, and also from the Ribbon border. It is formed by two flat bands intertwining more or less closely, but with geometrical exactitude. The bands may be either plain or decorated. This also is derived from the Greek, and is used chiefly in relief, forming a very graceful and flowing border. The inter- stices are sometimes decorated. H *Height. This term specially refers to the perpendicular measure- ment of bas-reliefs and vases. The average height of forty-two vases in the Bragg Collection, including plinths, but never pedestals, is 10 in. The height of bas-reliefs of various forms varies from 1 in. to 26 in. *Helix. Or " wave ornament." This elegant pattern is copied from the Greek and Etruscan vases, and is used by Wedgwood in its several varieties in relief, in encaustic painting, and occasionally in enameL It consists of a repetition of spiral forms, so connected as to somewhat resemble the outline of crested waves. It may be seen on many fine vases and their plinths. *Holy-door marble. A crystalline mixed body. Connoisseurs are of opinion that the colours are light puce, gilt and white. It is common, and in many instances is a mere lustre-ware. *Husk. A small congery of leaves spread open at one end like the covering of ripened oat grains. Husks are generally found strung in festoons, increasing in size from each end to the centre, where the husks become larger and stand thickest. Husk festoons are found in relief on many basaltes and jasper vases ; and they are occasionally used as an enamelled pattern, though in that case strung on a wavy or straight line. *Hydria. The name of a Greek vase used for holding water. Wedgwood copied Hydrise in several variations, both in basaltes and encaustic painted. I right|250px *Inkstands. Vessels for ink. To be found in all forms and bodies. Choice examples are figured in ^' Wedgwood and his Works '' and ^' Lifa of Wedgwood," vol. . *Intaglio. Figures or lines ctU into a substance, thus being the opposite to "cameo," which is substance laid on or elevated. A large portion of Wedgwood's intaglios were intended to serve the purpose of seals. He profusely copied the finest examples of antiquity, at first from Tassie's pastes, and afterwards from the gems themselves ; the contents of the choicest cabinets and collections in England and on the continent being placed at his disposal. By his labours in this direction of true art he hoped to check the barbaric taste for feudal ornament, but only partially succeeded. Almost all his intaglios as seals are in the basaltes body, or in a mixed body of blue and black, — these two colours beinfg in lamins. As seals, intaglios are highly polished. Choice specimens were often set in rings. Those of larger size were prepared and sold in sets for cabmets. *Ivy. a border pattern copied from the Greek vases. It will be seen on some of Wedgwood's Etruscan painted vases ; but more generally he used it as an enamelled bordering on services of cream-ware. There it will be found in its three antique variations of little heart-shaped leaves. He varied his colours both in the leaves and ground beneath. Thus we find blue ivy and black ivy. These were among his most popular pat- terns. He also copied natural ivy in the most exquisite manner; and the pattern being hand painted, it was confined to choice and oosUy ser- vices. J *Jardinière. a flower tray or box. Jardinieres were a later produc- tion than bouquetiers ; and while the latter were for cut flowers and bouquets generally, the former appear to have been somewhat analogous in form to our modem flower-boxes and trays in terra-cotta, as also in highly vitrified earthenware, and were adapted for growing plants and flowers. *Jasper terra-cotta. Wedgwood's celebrated composition or body, in which his finest works are formed. We first hear of it by this name in 1775, and he brought it to its ultimate perfection in 1779. But his trials extended over several previous years. Its chief ingredient was at first the carbonate, and later the sulpAiate of baryta, which he procured till 1779, and it may be later, from Ecton lead mine in Derbyshire. It readily incorporates the metallic oxides, is densely hard, comes out sharp from the mould, and is capable of high finish by the hand of the modeller. *Jasper crystalline. One of the mixed and crystalline terra-cotta bodies. It is to be seen chiefly In vases. The colours are green and brown, or red. *Jaune antique. A variegated and crystalline terra-cotta, seen in vases. The colours are black and rich saffron. *Jewellery. Cameos mounted in gold as ornaments for the adornment of the person. Fine jewellery was always on show in the London ware-rooms. Wedgwood employed the best mounters of his time. They included Copestake of Uttoxeter; FoUard, a famous engraver, and a friend of Bewick 5 Boulton of Soho, and Burley of Great Charles Street, Birmingham. right|250px K *Keeping. A term which in respect to fine-art pottery means a true balance and relation of parts, as also of style. Thus, if a vase is antique in form, so also to be in '^ keeping," the bas-reliefs must be classical in design, and the foot, plinth, handles, antefixal ornaments, beading, flutings and borders, carry out a perfect idea of antique art. " Keep- ing '* holds good to every style. L *Lamps. Articles of this useful class are found in almost every form, size and body. Examples copied from the antique prevail. Tripod lamps are intended for three lights ; and many specimens of lamps in jasper of two colours stiU remain. *Lathe. The instrument by which the potter shapes, smoothes, orna- ments, and sometimes polishes his forms or materials. A great variety of tools are adapted to the movements of the lathe. It came early into use in the Staffordshire potteries ; and Wedgwood not only added to its working capabOities, but was indebted to it for many very choice orna- mental effects. *Laurel border. A favourite enamelled bordering. There is blue, brown, and green laurel. The leaves are thickly, sometimes thinly, placed along a straight or waving hne. The laurel leaf is also used with good effect in the festoons and other ornamental parts of jasper vases. Laurel festoons, richly gilt, are often seen on those of crystalline terra- cotta. *Leafage. The leaves of plants, trees, and flowers, which, conven- tionally treated, have been adapted to ornamental purposes. *Lump. That portion of the internal part of olid vases just above the head of the screw. This lump, in the opinion of some connoisseurs, is a sign of fine and choice specimens, particularly if in basaltes. *Lustre-Ware. Pottery coated or covered with metallic oxides. When passed through the enamelling oven, the result is a brilliant hue, partaking of the nature of gold or silver, according to the oxide used. M *Marble. Such of the crystalline terra-cotta bodies as were made to imitate various coloured marbles, *Marks. The names of "Wedgwood," "Wedgwood and Bentley," letters, numerals, tool-marks, and other signs placed, for the purpose of identification, upon the various wares made at Etruria. See for exemplification of marks, from page 41 to 65. See also "Tool Marks." *Meander. In ornamental art, this term describes a peculiar design, often met with as a decorative border on vases and other pieces. The best writers on art include the terms " Greek fret " and " Greek key " under the term mseander. See Birch's "History of Ancient Pottery," Tol. ii. pp. 3-4; Fairholt's ''Dictionary of Terms in Art," under "Mseander." Tliis design is derived from the finest Greek and Egyptian work, and was used by Wedgwood upon rases, plinths, pedestals, and other pieces in relief, as also in encaustic painting. It was also used in its several variations on useful ware. '' Brain-pattern/' exemplified in border patterns, " Life of Wedgwood," vol ii. pp. 344, 345, No. 23, is also a pure mseander. Bemark also Nos. 13, 29, 36, 39, 40, for the several variations included under the generic term '' nueander." No. 29 is the Egyptian variety. right|250px *Measurements. All dimensions should be expressed in inches and parts of an inch, thus — 20| inches. The ''height" of a vase should always include the cover or lid with its ornamental top, or else should state " without cover." The " height " of fig^es, busts, and vases should include plinths, but not pedestab, which latter may be given separately. The width of a vase or cup should be measured at its greatest external body diameter. In some cases where the handles project considerably a second measurement may be desirable, stating if to be " across handles.** Tablets, plaques, medallions, and cameos should be measured in height and width across the whole piece of ware, and not confined to the mere subject portion, or decorative work. If writers on fictile art, dealers, and amateurs in their correspondence, and even auctioneers in their catalogues would give dimensions as well as colours of all important pieces, it would greatly facilitate comparisons, and in the latter cases tend to promote business. *Medal. A small circular piece of metal, usually of silver or of bronze, stamped with a design or portrait Wedgwood's medals, chiefly in basaltes, include sixty copied from Dassier and commemorative of Roman history, heads of illustrious Romans, the twelve Csesars, the emperors, the popes, and the kings of France and England. In larger sizes, the medals become portrait-medallions. *Medallion. A larger kind of medal, which, instead of being circular, is usually oval. Wedgwood's portrait-medallions in biscuit, in basaltes, and in jasper, of two colours, are examples of the class of smaller medal- lions. The larger are often important bas-reliefs, including such sub- jects as the "Choice of Hercules,'* the "Centaur Teaching Apollo Music," &c. &c. Another class, namely, medallions impressed, is seen in the " War of Jupiter and the Titans," " The Marriage Supper of Perseus and Andromeda," and others. Medallions may be round, up- right, or longitudinal. The smaller range from 2 to 5 in., the larger from 5 to 11]^ in. For various examples, see "Life of Wedgwood," vol. ii., " Wedgwood and his Works," and " Memorials of " Wedgwood." right|250px *Melon. An elegant corered cup or box, shaped and coloured as a melon. It was used as a receptacle for honey, sugar, preserves, as also as a toilet box. Melon-ware was made at an early date in the Potteries. It belongs to the class of Whieldon- Wedgwood wares. Wedgrwood made melons, coloured and unooloured, till far into the middle period ; but a marked example is apparently imknown. *MiLitary trophies. The spear, shield, helmet, and sometimes breast-plate, variously disposed, and hung suspended on fillets or on laurel or drapery festoons. Used as an ornament both in relief and in enamel painting. Much used by Wedgwood as an elegant decoration for the supporting columns of his chimney-pieces. Several choice ex- amples are extant. *Modelling. The art of constructing representations of things in clay. This is the first process in production^ and is necessary in order to the taking casts therefrom in plaster of Paris, as moulds for repro- duction. The beauty and perfection of fine-art pottery depends much on modelling. *Monteth. An elegant vessel used for keeping glasses cool in water. Monteths form a part of aU Wedgwood's finest dinner and dessert ser- vices. *Mould. * The matrix used in casting figures or ornaments, whether in ^' the round" or in partial relief. Much of Wedgwood's fine-art pottery was cast in moulds. *Moulding. A kind of ornament which finishes or heads a piece. Wedgwood made mouldings in jasper for the finish of waU-friezes, the ornamentation of door and shutter panels, and many other decorative purposes. The term '^moulding" is sometimes applied to the orna- mental edgings of vases, plinths, pedestals, &c. *Mortar material. A compact, hard porcelain, invented by Wedg- wood in 1779. Mortars, evaporating pans, digesting vessels, basins, filtering funnels, syphons, tubes, and other pieces useful in chemical ex- periments, were made in mortar material. It still retains its utility and fame ; and the mortars of modem Etruria are as famous &s the old. *Musical instruments. Ornaments both in relief and in enamel, used in the manner and for the purposes described under '' Military Trophies." The instruments are generally the flute, the cymbal, the pipe, &c. They are found frequently on vases and other decorative pieces. *Muffle. The kiln or oven, generally constructed of iron, in which the enamel painter bums in his colours. In Wedgwood's time, muffles were small and portable. They were fed either with biUet-wood or charcoal. right|250px *Myrtle pans. Large tab-like receptacles for myrtles and other evergreens. They were generally made in cream-ware, the hoops, im- pressed, being coloured or uncoloured. An entire set is extant in the Kettel Collection. *Nuts and screwe. Those fastenings which, passing through the foot of a vase, or the lower portion of a figure, confine it to its base or plinth. Sometimes they are of iron, but generally of brass. *Olive Leaf. A beautiful ornament which, as a thick wreath or fes- toon of leaves, decorates many of the crystalline terra-cotta, the basaltes, and jasper vases. In some cases, the olive leaf is all but identical with the laurel leaf. The vases on which this style of ornament appears are almost always very fine. *Opaque. Semi-transparent. The term may be applied to the material of the reliefs, as seen in the finest cameos and bas-reliefs, more especially the thinner portions, and through which the colour of the field or plane is partially visible. *Oriental. Those enamelled patterns on table and dessert services which, in gilt and bright colours, marked the first two decades of the present century. They were interpretations, rather than servile copies, of patterns on oriental porcelain. *Ornament. The accessory parts of a work, which add i/b its beauty or effect, such as on vases, the bas-reliefs, borders, festoons, terminals, &c. ; on enamelled ware, landscapes, crests, &c. *Oviform. Having the shape of an egg. The finest vases of an- tiquity are of this form. Wedgwood was aware of this, for he wrote to JBentley, ^'I observe what you say upon the egg; you know it is a favourite form of ours for vases. " *Ovolo. a moulding copied from architectural designs. It consists of an inner curve united to or turned into an outer curve, somewhat as the letter S. It is a term also applied where the oval body-form of a vase is turned into a reversed curve, either at the neck or base. *Painted. Decoration by the hand in encaustic or enamel colours. *Parallelism. A likeness of parts ; keeping. As, in the supports of a tripod or pedestal, a Ukeness in the supporting figures ; in vases a keeping in the style and character of the bas-reliefis, borders, handles, terminals, and other decorations ; or, in useful ware, a true likeness and balance of one piece or part to another. *Paste. A term occasionally applied to the body or material of pottery. Thus, a "thin" or «* thick" paste— a " hard " or a "soft" paste. The Whieldon-Wedgwood wares are said to have a "thin paste,'* namely, a delicate or light body. Wedgwood excelled in the li^tness of his wares. right|250px *Pastile burners. Vases, dishes, tripods, and tazze of rarious sizes and forms, in which pastiles or perfamed paste could be burned. Like pot-pouni vases they had perforated lids for the emission of the odour. They were made in various bodies ; hut chiefly in red and black. Pastile burners were introduced between the years 1805-1807. They were used for perfuming halls, galleries, staircases, and dining-rooms. There is a copy in the Bragg Collection figured in ** Wedgwood and his Works," Plate xxvii. It is in basaltes, and in the form of a tripod supported by dolphins. It has a most unusual mark upon it, '^ Josiah Wedgwood Feb. 2. 1805." Other copies similarly marked are in the Falcke and Jenny n Street Collections. In one or two cases the figures of the year, through the carelessness or ignorance of the workman, are transposed thus : 1085 for 1805. *Patera. A saucer-like vessel. Wedgwood made paterae in all his bodies. Those examples which are encaustic painted, or in basaltes, are often very fine. *Patina. A basin or bowl. Wedgwood in his useful wares repro- duced, and probably unconsciously, many antique forms. Not a few of his fruit and bread baskets are in shape no other than ancient patlnse. *Pattern. The original piece or specimen from which copies are made. The term more especially refers to the forms, borderings, and other decorations of painted and printed ware. Wedgwood, in the first instance, cut out many of his patterns on paper, as also those for vases and works of higher art. *Pebble. A generic term applied to the various crystalline terra- cotta bodies ; but more especially applied to those which in mixture of colours approach nearest to the natural stone, as agate, granite, and ser- pentine. *Pedestal. A term which, taken literally, means the base or foot of a statue. It should not be confounded with the plinth. It is a separate stand, which serves to elevate very considerably the object placed thereon, and is generally finished by a moulded cornice at top and plinth at bottom. Wedgwood's pedestals include many antique forms, as the tripod, the cippus, the column, and others. He never aimed, as it seems, to match pedestals to his vases. *Peony. a gay pattern painted under a high glaze, upon black earthenware. It belongs to the period 1805-1815. It is not uncommon. The peony pattern appears upon many pot-pourri vases. *Picture. Wedgwood applied the word " picture " or " pictures " to all those fine bas-reliefs and large medallions which were intended for insertion in panelling. At first frames were made gf framing or the same bodies as the pictures. But their weight and perhaps brittle- right|250px ness led to their being gradually superseded by those of metal or plaster gilt. *Pierced. Punctured with holes in various patterns. This style of decoration was derived from examples in oriental porcelain, and the first European imitations were made apparently at Dresden. Piercii^ was applied by Wedgwood chiefly to the edges of cream-ware dessert plates, compotiers, fruit dishes and baskets, as also as a central encircling orna- ment. He had the exquisite taste to round the angles or edges of his pierced patterns, and thus they stood out in marked contradistinction to imitations made at Leeds and elsewhere. This ware was necessarily fragile, and hence little of it has reached our day ; but in the old invoices no patterns are more commonly mentioned than ^' pierced and gilt." Examples, if discovered, are worthy of the connoisseur's greatest care. *Plane. A level surface. A term applied to the ground or field on which appears a design in bas-relief. *Plaque. The word means literally a plate or flat piece. In reference to Wedgwood's fine-art works it is a generic term for bas-reliefe larger than cameos, whether their form be round, oval, square, or long square. In some cases the term more especially refers to pieces impressed in moulds, as the " Marriage of Perseus and Andromeda," '^ Feast of the Gods," and others. *Plinth. The base below the proper foot of a vase or other orna- mental piece, frequently square or octagon. Plinths were always made separately, sent thus to London, and then added to their appropriate superstructures by nuts and screws. *Polish. A high finish of the surface produced by mechanical means on the '' body" of the ware ; quite distinct from any '^ glaze," whidi is a vitreous coating superadded upon the ^' body." Upon the question of '* polish" there is, among connoisseurs, some difference of opinion. *Porphyry. A dark granite-like body coloured red, black and greeu, and used in vases and bouquetiers. Another variation is of a rich purple brown colour. Porphyry was the latest of Wedgwood's imitations of crystalline stones. *Portrait. The resemblance or likeness of a person. Wedgwood's labours in the direction of portraiture both antique and modem were in their results most fine and successful. A very large number of portrait medallions have descended to our time, and for perfection of modelling, undercutting, and general finish remain unrivalled. Portraits are to be found in all his bodies ; but the majority are in basaltes, unpolished and polished, in white biscuit, in creamy coloured biscuit, in waxen biscuit, and occasionally in white jasper, but much more frequently in jasper of two colours. The individuality of some few of the portraits is apparently lost to ns, as in onr day they cannot be recognized. They are portraits probably of relatives, personal friends, and of those whose fiune, whether local or general, was too ephemeral to last beyond their generation. right|250px *Pot-pourri vases. Decorated vessels for containing rose leaves and other scents were formerly much used. The npper cover was pierced to allow the fragrance to pass ; but an under lid, fitting closely and without perforations, was added to stop the egress of the odour when not desired. *Pottery. As distinguished from " porcelain." It is opaque and not translncid. It is a common and vulgar error to call pottery '^ china'* or '' porcelain,'* but the distinction is a very striking one. *Pressed. a term applied by potters to the procesd of forcing into and shaping bats of clay in moulds. Pressed ware is also called " hollow ware.** All pieces which are not thrown, that is, formed on the potter's wheel, are pressed or shaped in a mould. *Printed. In contradistinction to hand-work painting or enamel. In printed ware the designs are first engraved upon copper, then coloured and impressed on paper, which in turn is transferred to the biscuit-ware. The paper is then washed off, and the colours remaining are burnt in. *Pyrometer. An instrument invented by Wedgwood for measuring degrees of heat. It is not absolutely faultless, but it lends valuable aid to the potter, glass-blower, and metaJlurgist, and is in extensive use. Q *Quatrefoil. An ornamental arrangement of small leaves. Quatrefoil is always in relief, and found as a body decoration on many choice specimens of jasper ware. R *Relief. This term means in relation to fine art pottery, raised above the stirface. Works in relief are of three degrees of elevation, viz., high relief, middle relief, and low relief. Wedgwood rarely employed any other than4ow relief, though he often complained that his designers and modellers, even including Flaxman, worked in too flat a style. *Rhyton. A drinking cup or horn of a peculiar shape, generally in the form of a dog, a fox, or a deer's head. Wedgwood called his rhytons '^ foxes' heads." He copied from the antique and in basaltes, and ex- amples were almost always edged with silver. *Ribbing. Adorned by slightly protuberant or outstanding lines. Also known as reed- work. Bibbing is effected by the movements of the lathe. There are several variations of ribbing. It is found on vases as an edge bordering, as a decoration on picture-frames of earthenware, this generally in combination with strap work, and the surfaces of ornamental services and pieces in jasper are sometimes ribbed. See for examples " Memorials of Wedgwood," plate xxvi. and " Life of Wedgwood," vol. ii. p. 505. Fluting and ribbing are found often in combination. right|250px *Ribbon border. A most beautifol and elegant method of decora- tion, found generally on choice examples of Wedgwood's latest and best period. Bibbon borders, in their several variatious, were derived ori- ginally from the Cinquecento ; bat the example most used by Wedgwood — that of a corded fillet, the spaces enriched with trefoil leaves and berries, — ^was designed by Flaxman. It appears as an edge border on countless objects in jasper, llie celebrated snuff-box of the Barlow Collection shows the ribbon border in exquisite perfection. See ^' Life of Wedgwood," vol. ii. pp. 505,^21, 531. *Rosso antico. Red ware. So named from a deep-toned red marble used by the ancient statuaries, and the colour of which was imitated by the ancient potters. Wedgwood's red body never approached the ex- cellence of that of antiquity. The red ware of the second period, 1795- 1843, excels that of the first, 1753-1795. Many examples of the second period are very choice. S *Scale ornament. A beautiful decorative effect produced by over- lapping scales after the manner of ridge-tile work. It was copied firom the vases of Nola. Wedgwood used the scale ornament as an encircling wreath for vases, plinths, and other fine pieces. In cases where the con- vex of each scale is more pointed than curved, it is often difficult to dis- tinguish between the scale and the olive leaf or laurel leaf ornament. Scales are almost always used as an encircling wreath, never like leaves as a festoon. It is to be seen also on the dome-shaped covers of some fine jasper jars. *Scallop. A simple yet elegant edging, found frequently in connec- tion with cream-ware services. It was much in vogue prior to and at the date Wedgwood commenced business for himself; and the beautiful tortoiseshell, melon, cauliflower, and other coloured wares of his two cousins (Dr. Thomas Wedgwood, senior, and Dr. Thomas Wedgwood, junior, father and son), as also the same style of wares made by Whieldon, were frequently scalloped, the scallops being at times finished by a ribbed line. Much of Wedgwood's early cream-ware was scalloped ; and he also applied this charming decorative effect to many fine pieces in basaltes, in cane ware, and in jasper. See the beautiful tureen or wine- cooler from the De La Bue Collection figured in " Life of Wedgwood,'' vol. ii. p. 503 ; or the flower-pot from the Barlow CoUection, p. 407. The scallops vary from a slightly indented line to curves fully pro- nounced. *Screws and nuts. See under " Nuts" and " Screws." *Seals. A matrix capable of imparting a raised impression to anything on which it is pressed. The larger portion of Wedgwood's intaglios are intended to be used as seals. He bestowed enormous pains and cost on this section of his labours. The infinite beauty as also infinite variety of his seals are known best to connoisseurs. They are made chiefly in basaltes, and what he termed onyx, a body of black and blue kuninatecL Almost all seals were very highly polished, shanks as well as bevels and surfaces ; and many were sold set with gold shanks and swivels. right|250px *Seau, '''Seaux. Literally a pail, bucket, or bowl. Seaux formed a part of all costly dinner and dessert services, particularly if intended for foreign countries. Their special use is not very clear. A choice pair of seaux in sea-green jasper is in the Marjoribanks Collection. *'Serpentine'. One of the crystalline terra-cotta bodies, of which the mixture is coloured green, grey, and yellow. *'Service', Services. In pottery, a collection of articles wherein, or upon which, food of whatever kind, solid or liquid, can be served, A ser- vice may appertain to breakfast, luncheon, dinner, dessert, tea, or supper. Wedgwood revolutionized the domestic tastes and habits of his time, by adding to the general service of the table countless charming and neces- sary articles. His inventive faculty in this direction is even more sur- prising than his exemplifications of beautiful form, subdued colouring, and well-adapted ornament. *'Sharp'. The perfect and full in outline. Applied to bas-reliefs, espe* daily those of portraiture. A profile or a decoration is said to be "sharp " when it brings out the full idea, outline, or intention of the modeller. *'Silvered ware'. One of the lustre wares. The oxide of platinum is used for making silver lustre. But " silvered ware " is a term which more strictly refers to a beautiful style of decorating a black earthenware body with patterns in dead or burnished silver. In this latter form it was introduced in 1 79 1. An exquisite example in black and silvered ware from the Falcke Collection is given in " Life of Wedgwood," vol. ii. p. 585. *'Slip'. A technical term for the fluid mixture of pulverized clay or flint. The mass from which both pottery and porcelain is made is derived from slip, carefully evaporated. Slip in a liquid form is used for uniting handles to bodies, for cementing bas-reliefs to their fields, and for many other purposes. *'Sphinx'. A fabulous monster, found figured in both Egyptian and Grecian sculpture. Wedgwood copied both Egyptian and classical sphinxes as supports for lights, for tripods, for pedestals, and as a decora- tive ornament for balusters, bookcases, &c. A Grecian sphinx in basaltes, from the Jermyn Street Collection, is figured in " Life of Wedgwood," vol. ii. p. 159. right|250px *'Statue'. A work of plastic art made in clay. Wedgwood excelled in small statues, and might have left to posterity a far larger number than he did, had his time been less engrossed by his efforts to excel in the direction of bas-reliefs and vases. Many of his small statues are extant in various collections. His statue of Zingara, 1 7 in. high, is given in '^ Memorials of Wedgwood," plate xxviii. ; the Cupid and Psyche are known ; and the exquisite figure of Bousseau, 12 in., has been lately added to the Bragg Collection. His statues are chiefly in basaltes ; but a few in fine white terra-cotta and in cane colour are known to connois- seurs. *'Strap-work'. A peculiar kind of ornament, much used in the later days of the Benaissance, and derived, it is said, from Byzantine art. It consists of narrow fillets or bands, variously crossed and interlaced. Wedgwood uses strap-work only in its simplest forms, — generally as two fillets placed crosswise over reeding. It is seen as a lip-bordering on vases, more rarely as an edging to plinths, and frequently as a decora- tion on picture frames. *'Supper trays'. Small services, consisting of four separate covered dishes, sometimes rather flat, sometimes much raised, which uest toge- ther, and form, as it were, four equal divisions of a ring or wheel, the central circular space being occupied by a pile of twelve plates, sur- mounted by a sauce-dish. The trays are generally of the same body and style of decoration as the service. Some examples had mahogany or other trays of wood, often beautifully inlaid. Supper services were made in many forms and bodies ; and choice specimens are stiU extant. T *'Tablet'. An ornamental compartment or piece with a flat surface. In pottery a tablet may be decorated with bas-reliefs or with paintings. The pieces which Wedgwood designated as tablets appear to be more especially those of a long square shape, or else high and narrow. His earliest tablets were enamel painted, to these followed encaustic ^painted, and contemporary with the latter were tablets enriched with the finest bas-reliefe. The term is a convertible one ; a bas-relief being a tablet, and a tablet a bas-relief. AH his bas-reliefs of sufficient size, and which are neither round nor oval, may be correctly termed '' tablets." *'Tazza'. a flat cup or dish with a foot and handles. Copied from Etruscan and Greek examples. Wedgwood made superb tazze in basaltes ; the bodies having all the eflect of highly poHshed black marble. The Hooker and Apsley Fellatt Collections contain each a fine specimen. Large-sized tazze were formerly used as fonts in churches. *'Tea-kettles'. These articles of elegant luxury appear to have been suggested to Wedgwood by examples in oriental porcelain. He introdnced them in basaltes ware as hot-water vessels, and they came greatly into fashion 5 ladies liking to contrast the beauty of theur white hands with the fine black of the ware. In all their variation of form and ornament tea-kettles are surprisingly beautiful. In the Bragg Collection are many choice examples. right|250px *'Terminals'. Ornaments used to finish and decorate parts where different forms, curves, and lines meet. The junction of handles to the lips or ovolos of vases, the upper or suspended ends of festoons, the tops of vase-covers, the comers of tripods and plinths, where figures of any kind are introduced, exemplify terminals. Wedgwood beautifully varies this class of ornaments ; and they include goat, satyr, serpent, and other heads, masks, human and aoimal and mythological figures, and conventional ornaments and symbols of many kinds. *'Terra-cotta'. Opposed to earthenware. A ware without glaze. The body of terra-cotta contains in itself a capacity for high finish and for polish, if necessary. It permits and preserves the most free and vigorous handling of the art^t. Wedgwood's crystalline bodies are all terra-cottas. *'Terrine'. From the French. The old term for tureen. The first English examples were probably copied from those of French manufac- ture. *'Tool-marks'. Marks on ware effected by workmen for purposes of identification. For a large number of these marks, see from p. 49 to p. 58. The term tool-marks also applies to the evident traces of the modelling tool upon figures, foliage, &c., which have been finished by the artist whilst in the soft state, after being taken from the mould. Sometimes a very considerable time was expended thus by a skilful modeller upon a figure, bust, or tablet before it was fired, and this of course increased its value then as also now. *'Trefoil'. An ornamental design of three small leaves. Wedgwood uses it in relief, as also in a few of his enamelled patterns. *'Trinkets'. Cameos set as jewellery in gold or steel. Trinkets include watch-chains, seals,' brooches, chd,telaines, bracelets, shirt-pins, neck pins, rings, and many other ornaments, as used for personal adornment. *'Tripod'. An ornamental vessel or piece supported on three feet. Wedgwood copied the forms of his numberless tripods from the finest antique examples in bronze, as also from tripods depicted in fresco paintings, on gems^ and on vases. He uses tripods as' light-holders, as pedestals, as bouquetiers, and for other ornamental purposes. He occa- sionally made tripods on a large scale, as, in 1770, for his firiend, Mr. Anson. Those modelled for use as bouquetiers, and containing an inner parse-like vessel, are occasionally found off the perpendicular, the inner vessel swaying, as it appears, on one side more than on another. These defects arose from firing. See, for this ordinary fault, ^' Life of Wedgwood," voL ii. p. 500. An example in the ISibson Collection is free from this blemish, as also is the one from the Bragg Collection, figured in " Wedgwood and his Works," plate xx. right|250px *'Triton'. a sea monster. Wedgwood ^used tritons as light-holders. Some of his examples were copied from antique gems, others from Michael Angelo. A superb Triton, 2 ft. high, as also a Neptune of the same height, were modelled for Wedgwood by the eminent sculptor, John Bacon, in 1769. See a Triton candlestick copied from an old order-book, " Life of Wedgwood," vol. ii. p. 218. *'Trophy'. A term signifying any group of articles intended to be emblematical, as, for instance, for '' War " would be grouped a helmet, shield, spears, and flags. Trophies emblematical of Peace, Love, Plenty, &c., frequently occur on vases aiid pedestals. . See under " Military Trophies " and " Musical Instruments.'* U *'Undercutting'. A process connected with modelling. . It is seen when the relievo figure or ornament, after being placed on the ground or '^ field," is cut away more or less underneath its edges, so that the out' line appears to slightly overhang its base. V *'Vase'. In modem fine-art pottery the vase is a vessel chiefly em- ployed for ornamental purposes. Wedgwood copied the finest examples of antiquity, namely — The amphora, pel/ice, stamnos, vases for holding wine, oil, or water. The hydria, calpiSf vases for carrying water. The crater, celebe, oxyhaphon, vases for mixing wine and water. The omochoe, olpe, prockous, vases for pouring wine, &c. The cantharus, cyathvs, carchesian, holcion, scyphus, cylix, lepaste, phiaU, ceras, rhyton, vases for drinking. The lecythus, alahastron, ascos, bombylios, aryhallos, cotyliscos, vases for ointments or perfumes. These forms may all be identified in his several works. Thus the unguentarium is copied in some of his earliest works, and as a sort of pepper-castor is to be seen in cream-ware, variously fluted and coloured. The scyphus, a drinking cup with two handles, is to be seen in all his bodies, and sometimes in red ware, mounted in silver as a sugar basin. And the stamnos or jar was another of his popular forms. So for the rest of the beautiful works of the ancient potters. W *'Ware'. A generic term applied to objects made of clay, flint, and other earthy materials. Thus *' porcelain " or *' china ware," " earthen ware," " cane-colour ware," " cream-colour ware," " jasper ware," &c. right|250px *'White ware'. Earthen ware of a nearly pure white colour. Wedg- wood yery- reluctantly changed the hue of his cream ware, and during his lifetime the introduction of a whiter ware was only partial. It was termed " peari-white ware." A marked specimen in the Jermyn Street Collection shows that this ^' pearl," or " dead white ware," was identical with the ordinary white ware of the present day. Some of this ware is left in the nnglazed or " biscuit " state. It would bespeak a yast adyance in public culture and individual taste, were our tables again decorated wiUi the fine primrose and saffron hues of Wedgwood's time. .Whieldon-Wedgwood. is a name given, with more or less certainty, to yarious specimens of coloured and, occasionally, decorated pottery, known to haye been made during the very brief period Wedgwood was in partnership with Mr. Thomas Whieldon, one of the ablest potters of the time. They consist principally of yases, drinking mugs, basins, and other small ornamental pieces. The paste is thin, the whole piece very light ; the glaze high, and very vitreous. The colours are, generally speaking, soft grays, browns, and puce. The vases seem copied from examples in marble, derived from the Benaissance, for the handles spring from the ovolo, but do not touch the lip. These, in some instances, show the stone-;like colour of salt glaze ; so also do the ornaments, which are generally the helix or anthemion border in a simple form. Some have festoon-work, with mask and serpent handles, and such pieces as are now extant, indicate the dawning taste of an artist and a colourist. *'Width'. See the term "Measurements." Categoría:Josiah Wedgwood Categoría:The Wedgwood handbook Wedgwood handbook